Games are culture gold

From independent studios to classrooms and libraries, a quiet revolution is underway. A new wave in the gaming industry is reshaping the conversation around inclusivity—not through quotas or corporate mandates, but by reimagining what play means, who gets to participate, and why games must be seen as a cultural force.

”Play shouldn’t cost anything. It should be like kicking a ball in the street, ” says Valéria van Pamelen who took part in ekip´s Policy Lab on inclusivity in gaming.

“I don’t want to say I know a lot,” says Valéria van Pamelen. “I haven’t done formal research, I haven’t worked in the industry for decades. But I think about this constantly. As a game designer, your job is to distill the world into systems and experiences.”

She took part in ekip´s Policy Lab in Rotterdam about inclusivity in the gaming industry.

What Valéria van Pamelen calling for isn’t just more inclusive games. It’s a systemic shift: a recognition that games are culture, games are art, and games deserve the same respect—and resources—as film, literature, and music. For many within the next generation of game creators, the conversation around inclusivity isn’t a corporate checkbox—it’s a design challenge.

“Gaming isn’t just mechanics and visuals,” the designer explains. “It’s how you build a world, how you welcome people into it, and who gets to participate.”

“What I do all day is look at rules and outcomes. So when it comes to issues like representation or access, I’ve developed strong opinions. Because I’ve seen how systems shape experience.”

”Play shouldn’t cost anything. It should be like kicking a ball in the street,” says Valéria van Pamelen who took part in ekip´s Policy Lab on inclusivity in gaming.

The cultural blind spot

In the Netherlands, as in many countries, gaming still struggles to be recognised as part of the cultural sector. That, Valéria van Pamelen says, is a major problem.

“There are two key issues,” she explains. “One is financial—if you’re not seen as cultural, you don’t get subsidies, exhibition space, or policy support. The other is symbolic: if games aren’t seen as cultural, their value gets overlooked.”

She points to the relative size and invisibility of the Dutch gaming scene as a consequence.

“We could be doing so much more. The gaming industry here could be bigger, more vibrant, if the government saw it as a legitimate cultural force.”

More than funding, it’s about belonging.

“I make art. I approach games artistically. But the moment you step outside traditional ideas of what art is—painting, sculpture, theatre—people hesitate to include you. I think we need to reframe art as ‘everything you can’t exclude.’ And that means games, too.”

From the streets to the screens

Beneath the surface of the global gaming boom lies a series of invisible obstacles—glass barriers that continue to limit who can be included. Despite its reputation as a universal pastime, the gaming industry remains deeply shaped by socioeconomic privilege, technological gatekeeping, and institutional blind spots.

“Video games are still mostly made for and by middle-class people in wealthy countries. That affects everything: who’s represented, who gets to create, and what kind of stories are told.”

Valéria van Pamelen emphasizes the distinction between “high art” and “low art”.

”Mainstream games, big-budget titles, they’re often shaped by corporate goals. But indie games—low-budget, high-creativity—those are expressions of the people. That’s where the cultural gold is.”

Indie developers, often operating with minimal budgets, are closer to that cultural pulse.

“They’re telling stories major studios won’t touch. But we need to support that better, through funding, education, and access.”

Play, for all

Access to the gaming industry remains unequal, shaped by the high cost of entry and limited technological infrastructure. Expensive hardware, fast internet, and specialised skills are still out of reach for many, creating barriers that prevent diverse voices from participating. As a result, the industry continues to reflect a narrow segment of society, reinforcing existing inequalities rather than challenging them.

So, what can be a solution?

“Subsidies,” Valéria van Pamelen answer plainly. “I don’t love the idea in principle—I’d rather everything be organically accessible—but in practice, subsidies work. Look at sports. Why do we fund football clubs and public courts? Because play matters and games should be no different.”

She also suggest schools as the natural entry point.

“Kids play in the streets and in the classrooms. Play is universal. But digital play still has barriers. So we need public support, educational integration, and community-driven initiatives to lower that threshold.”

Inclusive by design, not mandate

But inclusivity isn’t just about access. It’s also about intention. Valéria van Pamelen is cautious about relying solely on top-down policy.

“I used to be very against quotas,” she admits. “Now I see they’re not as harmful as I thought. But if it’s only about checking boxes, you risk tokenism and pushback. It needs to come from both sides.”

Inclusivity, she argues, must be built into the foundation of the industry.

“It should be bottom-up. You build opportunities early in education and in communities. Then people rise into the system based on their own strengths.”

She speaks from personal experience.

“I’m transgender. That shapes how I see the world. It influences what I make. But I don’t want to be hired just for a label. I want to be part of a team because of what I contribute.”

The goal isn’t to handpick identities—it’s to build pathways where everyone can participate.

“If you open the door early enough, talent and passion will shine through.”

The future is decentralized

Looking ahead for the industry, the designer is both hopeful and realistic.

“Gaming is already more inclusive than other entertainment sectors. But with the political landscape turning more nationalistic in many places, I think gaming could actually become a counter-movement. A space where diversity flourishes.”

That’s partly because of decentralization.

“The rise of indie games—2024 was really their year—means more voices, more stories, more creative freedom. That’s good for inclusivity. That’s good for everyone.”

In a world increasingly divided, that vision might just be what the industry—and society—needs most. Play shouldn’t cost anything. It should be like kicking a ball in the street. Accessible, joyful and shared. That’s what we should build toward in games.”